K. O'Connor, a young journalist known for her celebrity profiles, is consumed with discovering the truth behind a long-buried incident that affected the lives and careers of showbiz team Vince Collins and Lanny Morris.
The 'Exotica' is a nightclub on the outskirts of Toronto, where Eric, DJ and MC, watches nightly as his ex-girlfriend Christina performs. Watches jealously, especially as far as the extra ... See full summary »
A grief-stricken mother takes on the LAPD to her own detriment when it stubbornly tries to pass off an obvious impostor as her missing child, while also refusing to give up hope that she will find him one day.
A female journalist tries to uncover the truth behind the breakup, years earlier, of a celebrated comedy team after the duo found a girl dead in their hotel room. Though both had airtight alibis and neither was accused, the incident put an end to their act. Written by
An important plot twist, part of the reason the film was given an NC-17 rating in the US, is revealed in the documentary 'This Film Is Not Yet Rated (2006)'. See more »
The dates given in the movie are inconsistent. The telethon takes place Veterans Day weekend, November, 1957. It is stated that telethon finished on noon that Sunday, which, according to the calendar, would be November 10th. However the date on the room service bill signed the previous afternoon for Maureen is also dated November 10th. And when the duo are asked to open the New Jersey night club on November 15th, they respond they can't because that is the next day after the telethon ... and that date is inconsistent with both the calendar and the room service bill. See more »
Get the fuck off me! We don't fuck, Vince! We're buddies, we're pals, we're partners, we're a duo. We love each other, but we don't fuck! We're fucking stars. We can - we can travel together. We can hang out together. We can live together, but we can't be queers!
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Performed by Blood Sweat & Tears (as Blood Sweat and Tears)
Courtesy of Sony BMG Music Entertainment (UK) Ltd.
Written by David Clayton-Thomas (as David Clayton Thomas)
Published by EMI Music Publishing Ltd. See more »
I was engrossed by the premise. Kevin Bacon, Colin Firth and a dead girl in a bathtub. To see Firth and Bacon go through the steps of a sort of Jerry Lewis Dean Martin routine was, in itself, reason enough to see the movie. On top of that, a director like Egoyan. I was hooked but immediately, regrettably unhooked every time Alison Lohman opened her mouth. Who could possibly believe it? That character should exude intelligence other than sensual vibes. Miss Lohman doesn't exude either and makes the whole premise collapse. Imagine a young Jodie Foster or now Natalie Portman or even Rachel McAdams in those shoes. That was a pivotal part The whole believability of the premise depended on her. Because of her performance I saw the cracks in everyone else's performance. So the experience, for me, was a series of exhilarating rushes and disappointing stops. Who said that casting was 90% responsible for the success of a film?. Whoever said it was right. Here the truth lies at the feet of a casting director and of a director for casting.
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